It’s no secret that I adore Jordan Peele’s debut horror feature, Get Out. Needless to say, it’s a film I immediately fell in love with due to its intricate details, stellar performances, and perfectly paced narrative. It went on to be my favorite film of 2017, and I would definitively declare it as being one of the decade’s absolute best films. Having watched it yet again just last month, I’m astounded at the fact that Get Out remains as impressive as ever, and I have been counting down the days until we would get to see what Peele had in store for us with his next film.
Finally, that wait is over. After two long years, Peele is again gracing cinema marquees with his highly anticipated follow-up, Us. I’m going to be up front here: Us is nowhere near as good as its predecessor. However, despite some glaring misgivings I have toward this sophomoric effort, Us is definitely worth seeing. It is, in the end, an extremely well-made and oftentimes very enjoyable horror flick. However, Us is also nowhere close to being as essential as Get Out was. But it should come as no surprise that Peele’s newest work again highlights remarkable acting and gorgeous cinematography, and is based upon yet another inventive, terrifying scenario that’s sure to not only get your blood pumping, but also stimulate your mind in the process.
At the center of Us is a family of four, the Wilsons, which includes mother Adelaide (Lupita Nyong’o), father Gabe (Winston Duke), teenage daughter Zora (Shahadi Wright Joseph), and young son Jason (Evan Alex). We join them as they’re pulling up to their comfortable beach house for a summer getaway in Adelaide’s childhood home in Santa Cruz, and we’re allowed some valuable time upfront in order to better align ourselves with these characters and appreciate their relationships with one another. These early moments are breezy, funny, and memorable, as Peele makes it easy to become attached to his likable cast of characters.
Found below are three reviews of Richard Kelly’s 2001 film, Donnie Darko, written by Lewis University students Hannah Cross, Megan O’Brien, and Joseph Pryzdia.
Donnie Darko, directed by Richard Kelly, sends its audience down the rabbit hole (almost literally) into a twisted idea of time travel. The movie is suspenseful and brilliant as it alludes to other great works, notably: Alice in Wonderland. Donnie is followed by a white rabbit, which is the basis for his hallucinations and visions throughout the film. This movie’s genre lies somewhere in the spectrum of mystery, sci-fi, and teen angst in the John Waters tradition. The audience can easily relate to the feelings that Donnie has about being the outcast, not only in school but also in his family. Its satirical elements bring out some of the darker and dry humor in the movie. The canted cinematography and jagged editing of this film add to the eerie, chaotic, and unsettling feelings to the audience. While the majority of scenes are bright and colorful, every scene with the rabbit becomes visibly dark and muted by design to foreshadow the impending dark side of the film. Continue reading →
Fernando Meirelles and Kátia Lund’s 2002 film, City of God, is a vortex that swallows the audience into its cyclic narrative that emphasizes the dangers of toxic masculinity and consequences of the notion “being a man.” As observed in the film, a twisted perspective of manhood can be a bullet that passes through one generation to the next, destined to extinguish them all.
Meirelles and Lund’s film is a stunning execution of a labyrinth-like storyline in which the audience delves into the lives of multiple characters. Then, through cinematic moves such as foreshadowing and flashbacks, seamlessly intertwines these plots that become a metaphorical domino effect. As the film progresses, and gradually strips down the plot, we observe how the actions of one character cause a steady disruption in the lives of everyone else. From the jarring, handheld camera scenes, to the drastic shifts in color gradients from deep, saturated blues, to honeyed yellows, the audience experiences the chaotic and disruptive life of the film’s gang members. Similarly, to the characters in the story, the audience is overtaken by this whirlpool narrative, trapped in “the slum [that had] been a purgatory.” But, “now it’s hell.”
Is retention of identity and country worth breaching personal morality and happiness?
This is one of the overarching questions found within Andrzej Wajda’s Ashes and Diamonds, where Wajda uses Poland, his home country, as a means to explore the post-war struggle for power and identity. The film utilizes one of the most important days in the country’s history, May 8th, 1945, the day when the war in Europe ended with Germany’s surrender. In examining his country, the uncertainty of the future is taken as a key element, although Wajda does not give a definite answer to what will become of his country, examining for the sake of exploration. This uncertainty has an interesting dichotomy, which is in the form of a fear of the unknown and the beauty of faith and hope, which is similar to speculation about death and possible afterlife.
Welcome, readers, to the first installment of “Fear Needs No Translation,” a bi-weekly summary and review of international horror. I, Justin Fortes, will be your tour guide, conductor, pilot, and captain through this terrifying adventure. Each week, a different film will be analyzed not only for its plot and visual aesthetic, but also for the underlying socioeconomic and political issues that the work attempts to resolve. As we take this journey through the blood-drenched planes that we call horror cinema, keep in mind that we will be stepping into territories past our own borders. Let’s throw on our cultural sunglasses and buckle up; it’s going to be a bumpy ride.
As our train pulls into the station of our first film, please be aware of zombies rampantly roaming about the platform. In the 2016 Korean film, Train to Busan (originally titled Busanaheng), director Sang-ho Yeon takes on the challenge of reviving the undead of George Romero’s nightmarish hellscape for a new generation of horror-heads. With a resume exclusively composed of animated films prior to Busan’s release, Sang-ho surprisingly entered the international horror scene, storming in and showing no sign of slowing down.
While we’re only two months into 2018, the year’s most eagerly anticipated film has already arrived with Ryan Coogler’s Black Panther, which is a decidedly stunning addition in the Marvel Cinematic Universe. Coogler (Fruitvale Station, Creed) directs the long-running franchise’s first black-led film with dazzling, groundbreaking results, ultimately becoming a true cause for celebration.
The character of Black Panther (played by the wonderful Chadwick Boseman) made his impressive MCU debut in 2016’s Captain America: Civil War, instantly becoming a fan favorite through the slight appearance. Here, T’Challa, the recently-crowned king of Wakanda — which is a fictional, secretly prosperous African nation in possession of virtually infinite supplies of a made-up super metal called vibranium — is really allowed the chance to be the A-list superhero he was always destined to become. It was no question that this film and this character would end up being an important milestone in the superhero genre as well as an inspiration to countless children around the world, but it’s extremely gratifying to be able to relay that Black Panther is also the stellar solo-outing that so many of us wanted it to be.
Following several delays and months of speculation, the first look at the new entry in executive producer J.J. Abrams’ Cloverfield franchise came in the form of an ad spot during the Super Bowl. It was the first-ever official announcement ofJulius Onah’s The Cloverfield Paradox, and with it came the surprise that just two hours later, the film would be released worldwide on Netflix. It‘s an absolutely unheard of, crazy marketing strategy that worked, instantly making me as interested in watching the new film as I was in continuing the excitingly close football game that, for a mere 30 seconds, a brief trailer had managed to steal the spotlight from.
But with the film’s unique release aside, Paradox unfortunately watches quite pitifully. Stocked with a complicated mess of a plot, a large cast of insubstantial characters (even more damning due to the sheer talent of the actors that comprise the roles), and barely any driving force behind its uninteresting narrative, Paradox as a film remains stranded — not so much unlike its focal-point space station and its crew when they’re seemingly left helpless in a separate dimension from their own.